GUIDE 

FOR THE USE OF THE 

CORTINA 
PHONE-METHOD 

BY INDIVIDUALS AND 
IN CLASSES 



FRENCH COURSE 



BY 

ANTONIO PALACIOS 



Cortina Academy of Languages 

New York 

1918 



.0* 



Copyright, 1918, by 
R. D. CORTINA COMPANY 



AUG 27 1918 



>CLA5U15?3 



FOREWORD 

At the age of four the average child of educated 
parents speaks its native language easily, grammati- 
cally and with proper pronunciation. This is as true 
of the children of China and Japan as of those of 
Europe and America; and the method of ac- 
quiring this ability to speak is common to all. 

They learn through observation, particularly 
through listening. They can express an abstract 
thought such as "What do I care?" with the same 
ease as they would say "Give me some bread." And 
this accomplishment, wonderful, miraculous even as 
it is, results only from practice, first in listening, so 
as to arrive at the comprehension of the sounds, 
then in the early attempts at expression, and finally 
in the finished exercise of the organs of speech. 

Like gymnastics, music, painting, oratory and 
similar subjects, the mastery of a language demands 
patient and persistent practice. 

As the muscles cannot be developed simply by 
reading a treatise on anatomy, as the skill of the 
pianist cannot be acquired simply by reading about 
music or learning the parts of the piano, so the 
ability to speak a foreign language cannot be gained 
by reading a book about it, but by persistently lis- 
tening to the language and constantly attempting to 
speak it. 

As the sailor by practice acquires keenness of 



vision and as the blind person in the same way de- 
velops an acute hearing and a sensitive touch, so 
also the ear can be trained to understand a foreign 
language even when spoken with the greatest 
rapidity and the tongue can be trained to speak with 
the same ease as in its native language. It is all a 
matter of constant practice in listening and speaking. 

In compiling the present work ,the author's life- 
long experience in the teaching of languages has led 
him to lay particular stress on the necessity for un- 
tiring repetition. Indeed, the records should be 
played even a greater number of times than is in- 
dicated in the instructions. 

The words and sentences should be written down 
&s the phonograph voices them, the student repeat- 
ing aloud as he writes. The act of writing engraves 
the language on the memory, and hearing, sight and 
speech all co-operate to the same end. 

We have, therefore, 

Hearing, by which we listen to the records ; 

Sight, by which we read ; 

Speech, by which we express ourselves verbally ; 

Writing, by which we communicate our thoughts 
on paper. Each additional faculty assists the mem- 
ory to retain the new sounds, to combine the strange 
characters into words, and to formulate the words 
into phrases and sentences. 



New York, July, 1918. 



GENERAL INSTRUCTIONS 

1. This method is intended for students of all ages: 
for self-study, for study clubs and for schools and 
private classes. Both adults and children will find 
it an easy and fascinating method of acquiring the 
language. Whether this method is used for self- 
instruction or under the direction of a teacher, 
however, it is important that the general plan as 
well as the instructions for each period should be 
thoroughly understood; and in order to obtain the 
best results it is necessary that the instructions 
should be closely followed. 

2. The material for each period consists of: 

a. A disc phonograph, such as the Columbia or 
any other standard instrument; 

b. a complete set of Cortina Phone-Method 
language records, consisting of fifteen double- 
faced discs, or thirty numbers, made from 
Cortina's French Method; 

c. one Cortina's French Method for each 
student; 

d. a note-book and pencil for each student; 

e. fibre needles for individual study and steel 
ones for class work. Use always, if possible, 
fibre needles. 

3. The directions for the operation of the instrument 
given in this book are printed from light-face type. 
The heavy-face type is used for the instructions to 

1 



be given by the instructor in the class room to the 
students. For the individual studying by himself 
both the light and heavy type matter will be valu- 
able as a guide for the use of this method. 

4. Study clubs using this method will elect one of 
their members to act as leader, either for the en- 
tire course or for each period, and this leader will 
in turn appoint an assistant to operate the phono- 
graph while the instructions are being given to the 
class. The leader should speak in a clear, dis- 
tinct voice and should possess sufficient enthusiasm 
to hold the attention of the class. Neither the 
leader nor the assistant need know any French, 
and both of course share in the instruction re- 
ceived from the records. 

5. The instructor in the class room, whether it be 
composed of adults or children, can call upon the 
students in turn to operate the instrument for him. 

6. Three or four periods are assigned to each Lesson 
of the Cortina Method, the number being gov- 
erned by the ability of the students to cover the 
ground. Not less than three periods should be 
devoted to each lesson of the book, however, and 
when time permits, the records should be played 
through even oftener than is indicated, for the 
outstanding feature of this method is constant 
listening to train the ear and constant repetition 
to train the organs of speech. 

7. Students in clubs and classes should begin to 
converse with one another at as early a period as 
possible, using the words and sentences that they 
have heard from the phonograph. The instructor 

2 



should begin each period with a salutation in 
French as soon as these salutations have been 
learned from the records. The class should re- 
spond in unison to the salutation. 

8. No arguments on the method should be permitted 
during the period. When any doubt arises in the 
minds of the students, they should write down 
their questions and hand them in to the leader or 
instructor, who will either answer them personally 
or send them to the Cortina Academy of Languages 
for explanation. 

9. The Exercises in Grammar and in Composition 
in the Appendix should be handed to the students 
during the periods indicated at the head of each 
paper. They serve as a complete guide to the 
study of the French grammar for the individual 
studying by himself, and for students in informal 
classes. The instructor in the class room, more- 
over, will find them a valuable aid to his lessons in 
grammar. These papers, when completed, should 
be sent with return postage to the Cortina Academy 
of Languages, to be corrected free of charge and 
returned. 

10. The marginal figures in parentheses indicate the 
number of times the record is played through 
during the period. 



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INSTRUCTIONS FOR THE FIRST PERIOD 

First Lesson of the Cortina Method 

Read carefully the General Instructions on the col- 
ored pages before beginning this period. 

1. (Place record marked No. I, page 46, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

3. Open your Cortina Method at page 46. 
(Play beginning of record.) 

4. "Disque Cortina — Numero un — Page quarante- 
six — Premiere legon — Vocabulaire pour cette 
le$on." 

(Stop phonograph.) 

5. This means "Cortina disc — Number one — 
— Page forty-six — First Lesson — Vocabulary for 
this lesson." 

(1) 6. While the record is playing now, look at the 
French in your books and listen only! Look at 
the French and listen only! 
(Play record through.) 
7. The next time repeat aloud the words as you 
hear them; that is, talk back to the phono- 
graph. If you cannot at first pronounce the 
words as fast as the phonograph does, you will 
be able to do so very soon. Follow the text in 
your books. Speak in a clear and distinct voice. 
Never mind if you do not pronounce correctly 
7 



at first. Constant practice in listening and 
repeating after the phonograph will positively 
enable you to speak French correctly in time. 
Now all together! Repeat after the phono- 
graph ! 
(Begin to play record.) 

8. "Disque Cortina — Numero un — Page quarante- 
six — Premiere le^on — Vocabulaire pour cette 
le^on." 

(Stop phonograph.) 

9. You will find the translation of the last two 
phrases in foot-notes 1 and 2 of page 46. 

10. (Play record but stop after the words, "Je 
desire.") 

You see next to the French words in your books, 
"Je desire," the figured pronunciation in Eng- 
lish equivalents. This is given throughout the 
book as a guide to the correct pronunciation as 
given by the phonograph. See also pages 7 to 
44 of the Cortina Method for further explana- 
tion of the French sounds. 

(2) 11. Now repeat aloud! In French after the phono- 

graph! Look at the French! 
(Play record through.) 

(3) 12. We must learn not only the sounds but also the 

meaning of the words. So this time cover the 
French words with a piece of paper and look at 
the English translation, but repeat aloud in 
French the words as you hear them, as you 
have done before. Now all together! Repeat 
in French! Look at the English only! 
(Play record through.) 
8 



(4) 13 • Now close your books! Repeat aloud in French 

and write down at the same time as many words 
as you can. This will fix them more firmly in 
your memory. If you cannot follow the phono- 
graph word for word, leave a blank space and 
fill it in the next time. 
(Play record through.) 

(5) 14. Keep your books closed! Repeat aloud and fill 

in as many of your blank spaces as you can. 
(Play record through.) 

15. (Turn the disc over on the machine.) 

Now the phonograph will play some simple 
sentences, using the words of the vocabulary 
which you have just repeated. Turn to page 48. 
(Begin to play record.) 

16. "Disque Cortina — Numero deux — Page qua- 
rante-huit." 

(Stop phonograph.) 

17. That means "Cortina disc — Number two — Page 
forty-eight." 

18. (Begin the record but stop after the first sen- 
tence, " Je desire apprendre le francais.") 

We will lift the reproducer after each sentence, 
allowing you time to repeat it, before we place 
the reproducer in position again for the next 
sentence. You must repeat the entire sentence 
after the reproducer is lifted. 

The reproducer can be easily replaced on the exact 
spot desired if the operator holds it steady, being careful 
not to move it either forward or backward while lifting 
it. A little practice will soon give the necessary skill, 
insuring a smooth continuation of the record. 

9 



(i) 19. Now repeat aloud each sentence! In French 
after the phonograph ! 

(Play record through, lifting the reproducer 
after each sentence.) 

(2) 20. Now cover up with a piece of paper the page 

containing the French and look at the English 
translation only, on page 49, but repeat aloud in 
French after the phonograph! All together! 
(Play record through as before.) 

(3) 21. Now close your books and repeat each sentence 

after the phonograph! Write down the words 

as you repeat them, as you did before, leaving 

blank spaces where you cannot follow the 

phonograph. 

(Play record through.) 

(4) 22. Keep your books closed! Repeat aloud and fill 

in as many of your blank spaces as you can. 
(Play record through.) 
23. (Put record marked No. 19, page 278, on the 
phonograph and play the whole first page, as 
far as the word "fleurs," then stop.) 
For the last few minutes of our period we will 
listen to some connected French reading matter. 
Open your books at page 278. Listen only! 
Do not try to repeat after the phonograph but 
follow the French text in your books. Listening 
to these connected sentences will impress upon 
your memory the cadence of the language, more 
commonly called the rhythm and inflection. It 
is not necessary that you should understand a 
word of it. The important thing at first is to 
become familiar with the sound of the French 
language. Merely listening to this descriptive 
10 



matter now will, moreover, prepare you for the 
closer study of these records toward the end of 
the course. 

Notice also how many words are similar in 
French and English. Try to detect as many of 
these similarities as you can. This will help 
you to understand the spoken language. 
(Play record as far as indicated above and re- 
peat this passage about four times, thus closing 
the period.) 

In class-room instruction a free translation of the 
passage just heard may be given, either by the instructor 
or by an advanced student. 

24. In order to derive the full benefit from these 
lessons, we must study the foot-notes on each 
page of the Cortina Method. They give us the 
most important and necessary grammatical 
rules for each lesson. For example, on page 47 
we find that the second word in the first column, 
"le," is followed by the figure 10, which refers 
us to the foot of the page. We find on reading 
this note, that "le" is the masculine article 
singular. Much of this grammatical informa- 
tion is also found in a more compact and ex- 
tended form in the second part of each one of 
the five books into which the Cortina Method is 
divided. Thus the declination of all the articles 
is given on pages 72 and 73. This supplementary 
grammar will be taken up more fully in connec- 
tion with the Exercises in Grammar which will 
be assigned at stated periods in this course, 
and which constitute a review of the ground 
covered in each lesson of the Cortina Method. 
11 



INSTRUCTIONS FOR THE SECOND PERIOD 

First Lesson of the Cortina Method 

Read carefully paragraphs 3, 4 and 6 of the General 
Instructions on the colored pages before beginning this 
period. 

1, (Place record marked No. 1, page 46, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

00 3* Open your Cortina Method at page 46. Repeat 
aloud in French! After the phonograph! 
(Play record through.) 

(2) 4. Once more ! Look at the French in your books 

and repeat after the phonograph! 
(Play record through.) 

(3) 5. Now keep the French words covered and look 

only at the English translation, but repeat aloud 
after the phonograph in French! 
(Play record through.) 

(4) 6. Close your books! Repeat aloud in French and 

write down at the same time as many words as 
you can. This will fix them more firmly in your 
memory. If you cannot follow the phonograph 
word for word, leave a blank space and fill it in 
the next time. 
(Play record through.) 

(5) 7. Keep your books closed! Repeat aloud and fill 

in as many of your blank spaces as you can. 

(Play record through.) 
12 



(i) 8, (Turn the disc over on the phonograph and play 
the record through. Throughout this period 
follow the directions for lifting the reproducer 
given in the foot-note to paragraph 18 of the 
first Period.) 

Now we begin with the sentences! Repeat 
aloud in French after the phonograph! Look 
at the French in your books ! 

(2) 9, Now cover up the French sentences with a piece 

of paper and look at the English only! Repeat 
aloud in French! After the phonograph! 
(Play record through.) 

(3) 10. Now close your books and repeat each sentence 

after the phonograph! Write down the words 
as you repeat them, as you did before, leaving a 
blank space where you cannot follow the phono- 
graph! 
(Play record through.) 

(4) 11. Keep your books closed! Repeat aloud and fill 

in as many of your blank spaces as you can ! 
(Play record through.) 

12. (Put record marked No. 19, page 278, on the 
phonograph and play the whole first page as 
far as the word "fieurs," then stop.) 

For the last few minutes of our period we will 
listen to some connected reading matter. Open 
your books at page 278. Listen only ! 
(Play record as far as indicated above and re- 
peat this passage about four times, to the end 
of the period.) 

13. At the next period exercises in grammar and 
in composition will be assigned, covering the 

13 



First Lesson of the Cortina Method. In prepa- 
ration study carefully the foot-notes to this 
lesson, on pages 46 to 51. The more fully you 
master these foot-notes, the more you will 
profit by this course. 



INSTRUCTIONS FOR THE THIRD PERIOD 

First Lesson of the Cortina Method 

Read carefully paragraphs 7 to 9 of the General In- 
structions on the colored pages before beginning this 
period. 

1. (Place record marked No. I, page 46, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

(1) 3. This period is a test of what you have learned 
in the two preceding periods. So we will re- 
verse the order of our exercises and begin by 
writing. If you are able to write down correctly 
all the words and sentences after the phono- 
graph, we can take up the Second Lesson the 
next time. If you are not yet able to do this, we 
must review this period once more the next 
time. Now keep your books closed and repeat 
aloud after the phonograph while you write. If 
you cannot follow word for word, leave a blank 
space, to fill in next time. 
(Play record through.) 
14 



(2) 4- Now open your books at page 46 and repeat 

aloud in French while you compare with the 
printed text what you have written, and fill in 
your blank spaces at the same time. 
(Play record through.) 

(3) 5* Cover up the French words with a piece of 

paper and look at the English translation, but 
repeat aloud in French after the phonograph ! 
(Play record through.) 

(4) 6. Close your books and repeat aloud after the 

phonograph ! Try not to skip words ! 
(Play record through.) 
(i) 7. (Turn the disc over on the phonograph and 
play record through. Remember to lift the 
reproducer after each sentence, as you have 
done before. Give the students time to write.) 
Now we begin with the sentences and will 
write them down first, after the phonograph. 
Remember that this is a test to show how much 
you have profited by the two preceding periods ! 
Repeat aloud as you write! If you cannot fol- 
low word for word, leave a blank space, to fill 
in next time. 
(Play record through.) 

(2) 8. Now open your books at page 48 and repeat 

aloud in French while you compare with the 
printed text what you have written, and fill in 
your blank spaces at the same time. 
(Play record through.) 

(3) 9. Cover the French with a piece of paper and look 

at the English only, but repeat aloud in French 
after the phonograph! 
(Play record through.) 
15 



(4) io. Now close your books and repeat after the 

phonograph! Try not to skip words! 

(Play record through.) 

(5) ii. Once more! Keep your books closed! Repeat 

after the phonograph! 

(Play record through.) 

12. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done by having either the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: 'Pourquoi desirez-vous 
apprendre le francais?'" 

Tom now must answer the question in full, 
as follows: 

"Je desire apprendre le francais pour voy- 
ager." 

A large variety of such questions and answers 
are found in Cortina's "Francais en Francais," 
and a few are contained in the exercise in com- 
position No. I. (See Appendix.) 

Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
own original sentences and replies as they go 
along. 

16 



13. (Put record marked No. 19, page 278, on the 
phonograph and play the whole first page, as 
far as the word "fleurs," then stop.) 

For the last few minutes of our period we will 
listen to some connected reading matter. Open 
your books at page 278! Listen only! 
(Play record as far as indicated above and re- 
peat the passage just heard about five times, 
thus closing the period.) 

14. Now hand in what you have written down of 
this lesson. We will look it over and then 
decide whether we can go on with the Second 
Lesson the next time, or whether we must re- 
peat this period once more. We must abso- 
lutely master each lesson before we go on to 
a new one. 

The student studying alone must be honest with him- 
self and not take up a new lesson until he is absolutely 
sure that he has mastered the one he has been studying. 
The oftener a record is repeated, the more firmly the 
words will become fixed in the memory. 

15. The exercises in grammar and in composition 
which are assigned at this period are based on 
the ground which has been covered so far in the 
Cortina Method. Follow the directions at the 
head of each exercise. Have them ready to 
hand in at the end of the Sixth Period. They 
will be corrected and returned to you in due 
time. 

(See Page 52 of the Appendix.) 



17 



INSTRUCTIONS FOR THE FOURTH PERIOD 

Second Lesson of the Cortina Method 

Read carefully paragraphs 3 and 6 of the General 
Instructions on the colored pages. 

1. (Place record marked No. 3, page 52, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

3. Open your Cortina Method at page 52. 
(Play beginning of record.) 

4. "Disque Cortina — Numero trois — Page cin- 
quante-deux — Deuxieme legon — Nouveau voca- 
bulaire pour cette le^on." 

(Stop phonograph.) 

5. This means "Cortina disc — Number three — 
Page fifty-two — New vocabulary for this lesson." 

(1) 6. While the record is playing now, look at the 
French in the book and listen only! Look at 
the French in the book and listen only! 
(Play record through.) 
7. The next time repeat aloud the words as you 
hear them, that is, talk back to the phonograph. 
If you cannot at first pronounce the words as 
fast as the phonograph does, you will be able 
to do so very soon. Follow the text in your 
books. Speak in a clear and distinct voice. 
Never mind if you cannot pronounce correctly 
at first. Constant practice in listening and re- 
peating after the phonograph will positively 
18 



enable you to speak French correctly in time. 
Now all together! Repeat after the phono- 
graph! 
(Begin to play record.) 

8. "Disque Cortina — Numero trois — Page cin- 
quante-deux — Deuxieme le$on — Nouveau voca- 
bulaire pour cette legon." 

(Stop phonograph.) 

9. You will find the translation of the new words 
in foot-notes 1 and 2 at the bottom of page 52. 

(2)10. Now repeat aloud! In French! After the 
phonograph ! 
(Play record through.) 

(3) 11. We must learn not only the sound but also the 

meaning of the words. So this time cover the 
French words with a piece of paper and look at 
the English translation, but repeat aloud in 
French after the phonograph! Now all together! 
Repeat in French ! 
(Play record through.) 

(4) 12. Now close your books and repeat aloud after 

the phonograph! Write down the words as you 
repeat them. This will fix them more firmly in 
your memory. If you cannot follow word for 
word, leave a blank space which you will fill in 
the next time. 
(Play record through.) 
(5)13. Keep your books closed! Repeat after the 
phonograph and fill in your blank spaces. 
(Play record through.) 
14. (Turn the disc over on the machine.) 

Now the phonograph will play some simple 
sentences, using the words of the vocabulary 
19 



which we have just repeated. Turn to page 54. 
(Begin to play record.) 

15. "Disque Cortina — Numero quatre — Page cin- 
quante-quatre." 

(Stop record.) 

16. That means, "Cortina disc — Number four — 
Page fifty-four." 

(Begin the record but stop after the first sen- 
tence, "Bonjour, ma chere, comment allez- 
vous?") 

Note: — See page 43 of the Cortina Method for the 
rule governing the "Liaison des mots." Only the 
first four records of this course are pronounced with- 
out forming the "liaison," after which it is always 
formed. The students should endeavor to form it as 
soon as they acquire fluency of speech. 

17. We will lift the reproducer after each sentence, 
allowing you time to repeat it, before we place 
the reproducer in position again for the next 
sentence. You must repeat the entire sentence 
after the reproducer is lifted. 

The reproducer can be easily replaced on the exact 
spot desired if the operator holds it steady, being careful 
not to move it either forward or backward while lifting 
it. A little practice will soon give the necessary skill, 
insuring a smooth continuation of the record. 

(1) 18. Now repeat aloud each sentence ! In French 

after the phonograph! 

(Play record through, lifting the reproducer 

after each sentence.) 

(2) 19. Now cover up with a piece of paper the page 

containing the French and look at the English 
translation only, on page 55, but repeat aloud 
20 



in French after the phonograph! All together! 

(Play record through, as before.) 

(3) 20. Close your books and repeat each sentence 

after the phonograph! Write down the words 
as you repeat them, as you have done before. 
If you cannot follow the phonograph, leave a 
blank space which you will fill in the next time. 
(Play record through as before.) 

(4) 21. Keep your books closed! Repeat aloud after 

the phonograph and fill in your blank spaces ! 
(Play record through as before.) 
22. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: 'Comment allez-vous?'" 

Tom now must answer the question in full, 
as follows: 

"Tres bien, merci." 

A large variety of such questions and answers 
are found in Cortina's "Francais en Francais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 

Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
21 



own original sentences and replies as they go 
along. 

23. (Put record marked No. 19, page 278, on the 
phonograph.) 

For the last few minutes we will listen to some 
connected reading matter. Open your books 
at page 278 ! Listen only ! 

(Play record through. Note the position of 
the reproducer when it strikes the first new 
words, "Mais ne nous," and repeat the last part 
about four times, to the end of the period.) 

In class-room instruction a free translation of the 
passage just heard may be given, either by the in- 
structor or by an advanced student. 

24. In order to derive the full benefit from this 
course, we must study the foot-notes to each 
lesson. They give us the most necessary and 
important rules. Read carefully the foot-notes 
on pages 52 to 57, as indicated by the small 
figures which follow the words. 



INSTRUCTIONS FOR THE FIFTH PERIOD 

Second Lesson of the Cortina Method 

Read carefully paragraphs 7 and 8 of the General 
Instructions on the colored pages before beginning 
this period. 

1. (Place record marked No. 3, page 52, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

22 



(i) 3. Open your Cortina Method at page 52. Re- 
peat aloud in French! After the phonograph! 
Look at the French in your books ! 
(Play record through.) 

(2) 4. Once more! Repeat in French! Look at the 

French in your books ! 
(Play record through.) 

(3) 5. Now cover the French words with a piece of 

paper and look at the English translation but 
repeat in French after the phonograph ! 
(Play record through.) 

(4) 6. Close your books ! Write down each word after 

the phonograph and repeat aloud while you 
write! Leave a blank space where you cannot 
follow the phonograph. You will fill this in the 
next time. 
(Play record through.) 

(5) 7. Keep your books closed! Repeat after the 

phonograph and fill in your blank spaces ! 
(Play record through.) 

(1) 8. (Turn the disc over on the machine.) 

Now the phonograph will play the sentences. 
Turn to page 54. Repeat aloud each sentence 
after the phonograph! Look at the French in 
your books ! 

(Play record through, one sentence at a time, 
lifting the reproducer as you have done before.) 

(2) 9. Now cover up with a piece of paper the page 

containing the French and look at the English 
translation only, on page 55, but repeat aloud 
in French after the phonograph ! All together ! 
(Play record through.) 
23 



(3) io. Close your books and repeat each sentence 

after the phonograph, writing down the words 
as you repeat them, as you have done before. 
If you cannot follow the phonograph, leave a 
blank space, which you will fill in the next time. 
(Play record through.) 

(4) 1 1. Keep your books closed! Repeat aloud after 

the phonograph and fill in your blank spaces ! 

(Play record through.) 

12. Study carefully the foot-notes on pages 52 to 57. 
You must master them thoroughly before pre- 
paring the exercises in grammar which will be 
assigned the next time. 

13. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: ' Comment allez-vous?" 

Tom now must answer the question in full, 
as follows: 

"Tres bien, merci." 

A large variety of such questions and answers 
are found in Cortina's "Fran^ais en Fransais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 
24 



Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
own original sentences and replies as they go 
along. 
14. (Put record marked No. 19, page 278, on the 
phonograph.) 

For the last few minutes we will listen to some 
connected reading matter. Open your books 
at page 278. Listen only! 

(Play record through. Note the position of the 
reproducer when it strikes the first words, 
"Mais ne nous," and repeat the last part about 
four times, to the end of the period.) 

In class-room instruction a free translation of the passage 
just heard may be given, either by the instructor or by an 
advanced student. 



INSTRUCTIONS FOR THE SIXTH PERIOD 

Second Lesson of the Cortina Method 

Read carefully paragraphs 6 and 9 of the General 
Instructions on the colored pages before beginning 
this period, 

1. (Place record marked No. 3, page 52, on the 
phonograph.) 

2. (Wind phonograpn and adjust its speed to 80 
revolutions per minute.) 

(1) 3. This period is a test of what you have learned 
in the two preceding periods. So we will re- 
25 



verse the order of our exercises and begin by 
writing. If you are able to take down correctly 
all the words and sentences after the phono- 
graph, we can take up the Third Lesson the next 
time. If you are not yet able to do this, we must 
go over this period once more the next time. 
Now keep your books closed and repeat aloud 
while you write. If you cannot follow word for 
word, leave a blank space. 
(Play record through.) 

(2) 4. Open your books at page 52 and repeat aloud in 

French! Look at the French in your books 
while you compare with the printed text what 
you have written down, and fill in your blank 
spaces at the same time. 
(Play record through.) 

(3) 5* Cover up the French with a piece of paper and 

look at the English translation, but repeat aloud 
in French after the phonograph! 
(Play record through.) 

(4) 6. Close your books and repeat aloud after the 

phonograph ! Try not to skip words ! 
(Play record through.) 

(1) 7. (Turn the disc over on the machine.) 

Now we begin with the sentences and will 
write them down first after the phonograph. 
Remember that this is a test to show how much 
you have profited by the two preceding periods. 
If you cannot follow word for word, leave a 
blank space. 
(Play record through.) 

(2) 8. Open your books at page 54 and repeat aloud in 

French! Look at the French in your books 
26 



while you compare with the printed text what 
you have written down, and fill in your blank 
spaces at the same time. 

(Play record through.) 

(3) 9. Cover the French with a piece of paper and look 

at the English only, but repeat aloud after the 
phonograph in French! 

(Play record through.) 

(4) 10. Now close your books and repeat after the 

phonograph ! Try not to skip words ! 

(Play record through.) 

(5) 11. Once more! Keep your books closed and re- 

peat after the phonograph! 

(Play record through.) 
12. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: 'Comment allez-vous ? ' ' 

Tom now must answer the question in full, 
as follows: 

"Tres bien, merci." 

A large variety of such questions and answers 
are found in Cortina's "Francais en Francais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 
27 



Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
own original sentences and replies as they go 
along. 

13. (Put record marked No. 19, page 278, on the 
phonograph.) 

For the last few minutes we will listen to the 
reading matter. Open your books at page 278. 
Listen only ! 

(Play record through. Note the position of the 
reproducer as it strikes the first new paragraph, 
at the words "Mais ne nous," and repeat the 
last two pages about four times, to the end of 
the period.) 

14. Now hand in what you have written down of 
this lesson. We will look it over and then 
decide whether we can go on with the Third 
Lesson the next time, or whether we must re- 
peat this period once more. We must abso- 
lutely master each lesson before we can go on 
with the next one. 

The student studying alone must be honest with him- 
self and not take up a new lesson until he is absolutely 
sure that he has mastered the one he has been studying. 
The oftener a record is repeated, the more firmly the 
words will become fixed in the memory. 

15. Now hand in the exercises in grammar and in 
composition which were assigned at the end of 
the Third Period and which you were requested 
to bring in to-day. They will be corrected and 
returned to you in due time. The exercises 

28 



that are assigned to-day are based on the ground 
which has been covered in the last three periods. 
Follow the directions at the head of each paper. 
Have them ready to hand in at the end of the 
Ninth Period. 

(See Appendix, page 54.) 



INSTRUCTIONS FOR THE SEVENTH PERIOD 

Third Lesson of the Cortina Method 

Read carefully paragraphs 2, 3 and 4 of the General 
Instructions on the colored pages before beginning 
this period. 

1. (Place record marked No. 5, page 58, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

3. Open your Cortina Method at page 58. 
(Play beginning of record.) 

4. Disque Cortina — Numero cinq — Page cin- 
quante-huit — Troisieme legon — Nouveau voca- 
bulaire. 

(Stop phonograph.) 

5. That means, "Cortina disc — Number five — 
Page fifty-eight — Third Lesson — New voca- 
bulary." 

(1) 6. Look at the French in your books and listen only ! 
Look at the French and listen only ! This record 
contains not only the vocabulary but also the 
dialogue of the lesson. 
(Play record through.) 
29 



(2) 7« While the record is playing the next time, re- 

peat aloud the words as you hear them, as you 
have done in the previous lessons. Try not to 
skip words, but never mind if you cannot pro- 
nounce at first as fast as the phonograph does. 
You will be able to do it perfectly before we 
finish with this record. Speak in a clear and 
distinct voice. 

(Play record through. You need not lift the 
reproducer while playing the vocabulary, as 
the students can easily repeat each word after 
the phonograph, but you must lift the repro- 
ducer after each sentence, as explained in the 
foot-note to paragraph 1 8 of the first period. 
This should be done every time the record is 
played through and the students repeat after it.) 

(3) 8. Once more ! Look at the French and repeat 

aloud after the phonograph! 
(Play record through.) 

(4) 9. Now cover up the French with a piece of paper 

and look at the English translation while you 
repeat aloud in French. 
(Play record through.) 

(5) 10. Look again at the French and repeat after the 

phonograph ! 

(Play record through.) 

(6) n. Once more! Look at the French and repeat! 

(Play record through.) 

(7) 12. Now close your books and repeat aloud in 

French, writing down at the same time as 
many words as you can. This will fix them 
more firmly in your memory. If you cannot 
follow the phonograph word for word, leave a 
30 



blank space which you will fill in the next time. 

(Play record through.) 

(8) 13. Keep your books closed! Repeat after the 

phonograph and fill in as many of your blank 
spaces as you can. 

(Play record through.) 

(9) 14. Now open your books and look at the French 

while you repeat after the phonograph. 

(Play record through.) 
15. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: 'Parlez-vous bien fran- 
cais?'" 

Tom now must answer the question in full, 
as follows: 

"Non, pas du tout." 

A large variety of such questions and answers 
are found in Cortina's "Francais en Francais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 

Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
31 



own original sentences and replies as they go 
along. 

16. (Put record marked No. 20, page 280, on the 
phonograph and play as far as the word 
"soigneusement," on page 281.) 

For the last few minutes of our period we will 
continue with our Day in Paris. Open your 
books at page 280. Listen only ! 
(Repeat this passage about five times, thus clos- 
ing the period.) 

17. Study carefully the foot-notes to the Third Les- 
son, on pages 58 to 65, in preparation for the 
exercises which will be assigned at the Ninth 
Period. 

18. Let the French words and sentences to which 
you have listened remain with you and become 
a part of you. Repeat them over and over to 
yourself and among yourselves until they be- 
come second nature to you. 



INSTRUCTIONS FOR THE EIGHTH PERIOD 

Third Lesson of the Cortina Method 

Read carefully paragraphs 7 and 8 of the General 
Instructions on the colored pages before beginning 
this period. 

1. (Place record marked No. 5, page 58, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

32 



3. Open your Cortina Method at page 58. 

(1) 4. Look at the French in your books and listen 

only! Listen only! This record contains not 
only the vocabulary but also the dialogue. 
(Play record through.) 

(2) 5. Now look at the French and repeat aloud the 

words as you hear them, as you have done 
before. Try not to skip words, but never mind 
if you cannot pronounce at first as fast as the 
phonograph does. You will be able to do so 
before we finish with this record. 
(Play record through. You need not lift the 
reproducer while playing the vocabulary, but 
you must lift it after each sentence, as ex- 
plained in the foot-note to paragraph 18 of the 
first period. This should be done every time 
the record is played through and the students 
repeat after it.) 

(3) 6. Once more ! Look at the French and repeat 

after the phonograph! 
(Play record through.) 

(4) 7. Now cover up the French with a piece of paper 

and look at the English translation while you 
repeat aloud in French! 
(Play record through.) 

(5) 8. Look again at the French and repeat after the 

phonograph! 

(Play record through.) 

(6) 9. Once more ! Look at the French and repeat 

after the phonograph! 
(Play record through.) 

(7) 10. Now close your books and repeat aloud in 

French, writing down at the same time as many 
33 



words as you can. This will fix them more 
firmly in your memory. If you cannot follow 
the phonograph word for word, leave a blank 
space, which you will fill in the next time. 

(Play record through.) 

(8) n. Keep your books closed and fill in as many of 

your blank spaces as you can. 

(Play record through.) 

(9) 12. Now open your books and look at the French 

while you check up what you have written, 
repeating after the phonograph! 

(Play record through.) 
13. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences : 

"John, ask Tom: 'Parlez-vous bien fran- 
Cais?'" 

Tom now must answer the question in full, 
as follows: 

"Non, pas du tout." 

A large variety of such questions and answers 
are found in Cortina's "Fran$ais en Fran^ais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 
34 



Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
own original sentences and replies as they go 
along. 

14. (Put record marked No. 20, page 280, on the 
phonograph and play as far as the word 
" soigneusement, " on page 281.) 

For the last few minutes of our period we will 
continue with our Day in Paris. Open your 
books at page 280. Listen only ! 
(Repeat this passage about five times, thus clos- \ 
ing the period.) 

15. Study carefully the foot-notes to the Third 
Lesson on pages 58 to 65. Exercises in gram- 
mar and in composition will be assigned at the 
next period, and the more fully you study these 
foot-notes, the better prepared you will be to 
answer these questions. 



INSTRUCTIONS FOR THE NINTH PERIOD 

Third Lesson of the Cortina Method 

Read carefully paragraphs 6 and 9 of the General 
Instructions on the colored pages before beginning 
this period. 

1. (Place record marked No. 5, page 58, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

(i) 3, This period is a test of what you have learned 
in the two preceding periods, so we will reverse 
35 



the order of our exercises and begin by writing. 
If you are able to write down all the words and 
sentences after the phonograph, we can take up 
the Fourth Lesson the next time. If you are not 
yet able to do this, we must go over this period 
once again the next time. Now keep your books 
closed and repeat aloud while you write. If 
you cannot follow word for word, leave a blank. 
(Play record through.) 

(2) 4. Open your books at page 58 and repeat aloud in 

French! Look at the French in your books, 
while you compare with the printed text what 
you have written down, and fill in your blank 
spaces at the same time. 
(Play record through.) 

(3) 5- Now cover up the French with a piece of paper 

and look at the English translation, but repeat 
aloud in French after the phonograph ! 
(Play record through.) 

(4) 6. Look at the French and repeat after the phono- 

graph! 

(Play record through.) 

(5) 7. Once more! Look at the French and repeat 

after the phonograph! 
(Play record through.) 

(6) 8. Once more! Look at the French and repeat 

after the phonograph! 
(Play record through.) 

(7) 9. Cover the French, look at the English transla- 

tion and repeat in French. 
(Play record through.) 
36 



(8) io. Close your books and repeat after the phono- 

graph! 

(Play record through.) 

(9) n. Once more! Repeat after the phonograph! 

(Play record through.) 

12. Before listening to the descriptive matter, let 
us carry on for a short while a conversation in 
French. 

This can be done either by having the indi- 
vidual students talk with one another or, if the 
class is a large one, by forming it into groups of 
four or more students each and letting one group 
converse with another. This conversation 
should be based on the vocabularies as well as 
on the dialogue of the lesson, and may be started 
by the following simple sentences: 

"John, ask Tom: 'Parlez-vous bien fran- 
$ais?'" 

Tom now must answer the question in full, 
as follows: 

"Non, pas du tout." 

A large variety of such questions and answers 
are found in Cortina's "Francais en Francais," 
and a few are contained in the exercise in com- 
position No. 1. (See Appendix.) 

Individual students who are taking the course 
without a teacher should carry on the same 
conversation aloud by themselves, forming their 
own original sentences and replies as they go 
along. 

13. (Put record marked No. 20, page 280, on the 
phonograph and play as far as the word 
"soigneusement," on page 281.) 

37 



For the last few minutes of our period we will 
continue with our Day in Paris. Open your 
books at page 280. Listen only! 

(Repeat this passage about five times, thus clos- 
ing the period.) 

14. Now hand in what you have written down of 
this lesson. We will look it over and then de- 
cide whether we can go on with the Fourth 
Lesson the next time, or whether we must re- 
peat this period once more the next time. We 
must absolutely master each lesson before we 
can go on with the next one. 

The student studying alone must be honest with him- 
self and not take up a new lesson until he is absolutely 
sure that he has mastered the one he has been studying. 
The oftener a record is repeated, the more firmly the 
words will become fixed in the memory. 

15. Now hand in the exercises in grammar and 
in composition which were assigned at the end 
of the Sixth Period, and which you were re- 
quested to bring in to-day. They will be cor- 
rected and returned to you in due time. The 
exercises which are assigned to-day are based 
on the ground which has been covered during 
the last three periods. Follow the directions 
at the head of each paper. Have them ready 
to hand in at the end of the Twelfth Period. 

(See Appendix, page 56.) 



38 



NOTE 

The plan of this book, it has been observed in the 
course of these lessons, is based on the division into 
groups of three periods, each group covering one Les- 
son of the Cortina Method, and minute instructions 
for each period have been given. These instructions 
may now serve as a guide, both for class-room work 
and for self-study. But new records and new exercises 
must be used for each new group. The plan for the 
next three periods then works out as follows: 

PERIODS TEN TO TWELVE 

Fourth Lesson of the Cortina Method 

Follow the instructions as given for the Seventh to 

Ninth Periods, respectively, as guide. 
Use Record No. 6 for the lesson. 
Use Record No. 20 for the listening exercise. 
Take Exercises No. 4 at the end of the Twelfth Period. 

(See Appendix, page 58.) 



INSTRUCTIONS FOR THE THIRTEENTH 
PERIOD 

General Review 

This period is a review of Lessons I to IV and records 
Nos. 1 to 6, which will be played through only once; 
also records Nos. 19 and 20, played as indicated. Read 

39 



paragraph 3 of the General Instructions on the colored 
pages before beginning this period. 

1. (Place record marked No. 1, page 46, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 revo- 
lutions per minute.) 

3. This period we will devote to a review of what we 
have so far learned, namely Lessons I to IV of the 
Cortina Method. We shall not have time to play 
these records through more than once, so you 
must listen very attentively and repeat carefully 
after the phonograph. Open your books at page 46 ! 
Repeat every word distinctly after the phonograph ! 
(Play record through.) 

4. (Turn disc over on phonograph.) 

Now we begin with the dialogue. Turn to page 48. 
Repeat each sentence clearly after the phonograph. 
(Play record through. Remember to lift the re- 
producer after each sentence, as you did in previous 
periods.) 

5. (Place record marked No. 3, page 52, on the phono- 
graph and play it through.) 

Turn to page 52. Pronounce each word distinctly 
after the phonograph! 

6. (Turn disc over and play record through.) 

Turn to page 54. Repeat each sentence after the 
phonograph ! Clearly and distinctly ! 

7. (Place record marked No. 5, page 58, on the 
phonograph and play it through.) 

Turn to page 58! This record contains both the 
vocabulary and the dialogue! Repeat every word 
and sentence clearly after the phonograph! 

40 



8. (Place record marked No. 6, page 66, on the phono- 
graph and play it through.) 

Close your books and try to repeat "by ear" after 
the phonograph! It covers our last lesson and 
should be fresh in your memory! 

9. (Place record marked No. 19, page 278, on the 
phonograph and play it through.) 

This record covers our listening exercise. Open 
your books at page 278! Listen only! Follow 
the text in your books! 

10. (Place record marked No. 20, page 280, on the 
phonograph and play it through.) 
Turn to page 280 and follow the text! Listen 
only! 

it. The exercises which are assigned at this period 
are a review of the whole grammar which has been 
studied so far, with special reference to the verb. 
The models of the regular verbs on pages 80 to 
84 should be thoroughly analyzed and memorized. 
Fluency in speaking French is possible only if the 
different forms and endings of the verbs are fully 
mastered. Follow the directions at the head of 
the paper. Hand it in at the end of the Sixteenth 
Period. It will be corrected and returned to you 
in due time. 

(See Appendix, page 60.) 



41 



NOTE 

The instructions for the remaining periods of this 
course should be carried out along the lines laid down 
for the preceding periods. Take the Instructions for 
the Seventh to the Ninth Period, respectively, as a 
guide for conducting Periods Fourteen to Fifty-two, or 
for self-study, as follows: 

PERIODS FOURTEEN TO SIXTEEN 
Fifth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 7 for the lesson. 
Use Record No. 21, pages 282 to 283, for the listening 

exercise. 
Take Exercises No. 6, at the end of the Sixteenth 

Period. (See Appendix, page 63.) 

PERIODS SEVENTEEN TO NINETEEN 
Sixth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 8 for the lesson. 
Use Record No. 21, pages 282 to 284, for the listening 

exercise. 
Take Exercises No. 7 at the end of the Nineteenth 

Period. (See Appendix, page 64.) 

42 



PERIODS TWENTY TO TWENTY-TWO 

Seventh Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 9 for the lesson. 
Use Record No. 22, pages 287 to 288, for the listening 

exercise. 
Take Exercises No. 8 at the end of the Twenty-second 

Period. (See Appendix, page 66.) 

PERIODS TWENTY-THREE TO TWENTY-FIVE 

Eighth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 
Ninth Period, respectively, as a guide. 

Use Record No. 10 for the lesson. 

Use Record No. 22, pages 287 to 289, for the listening 
exercise. 

Take Exercises No. 9 at the end of the Twenty-fifth 
Period. (See Appendix, page 67.) 

PERIOD TWENTY-SIX 
Review 

Follow the Instructions as given for the Thirteenth 

Period as a guide. 
Use Records Nos. 7 to 10 for the lessons. 
Use Records Nos. 21 and 22 entire for the listening 

exercise. 
Take Exercises No. 10. (See Appendix, page 69.) 

43 



PERIODS TWENTY-SEVEN TO TWENTY-NINE 
Ninth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 
Ninth Period, respectively, as a guide. 

Use Record No. n for the lesson. 

Use Record No. 23, page 290, for the listening exer- 
cise. 

Take Exercises No. n at the end of the Twenty-ninth 
Period. (See Appendix, page 70.) 

PERIODS THIRTY TO THIRTY-TWO 
Tenth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 
Ninth Period, respectively, as a guide. 

Use Record No. 12 for the lesson. 

Use Record No. 24, page 292, for the listening exer- 
cise. 

Take Exercises No. 12 at the end of the Thirty-second 
Period. (See Appendix, page 71.) 

PERIODS THIRTY-THREE TO THIRTY-FIVE 
Eleventh Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 
Ninth Period, respectively, as a guide. 

Use Record No. 13 for the lesson. 

Use Record No. 25, page 298, for the listening exer- 
cise. 

Take Exercises No. 13 at the end of the Thirty-fifth 
Period. (See Appendix, page 73 .) 

44 



PERIODS THIRTY-SIX TO THIRTY-EIGHT 
Twelfth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 
Ninth Period, respectively, as a guide. 

Use Record No. 14 for the lesson. 

Use Record No. 26, page 300, for the listening exer- 
cise. 

Take Exercises No. 14 at the end of the Thirty-eighth 
Period. (See Appendix, page 74.) 

PERIOD THIRTY-NINE 
Review 

Follow the Instructions as given for the Thirteenth 

Period as a guide. 
Use Records Nos. n to 14 for the lessons. 
Use Records No. 23, page 290, No. 24, page 292, No. 

25, page 298, No. 26, page 300, for the listening 

exercise. 
Take Exercises No. 15. (See Appendix, page 76.) 

PERIODS FORTY TO FORTY-TWO 

Thirteenth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 15 for the lesson. 

Use Record No. 27, page 303, for the listening exer- 
cise. 

Take Exercises No. 16 at the end of the Forty-second 
- Period. (See Appendix, page jj,) 

45 



PERIODS FORTY-THREE TO FORTY-FIVE 

Fourteenth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No, 16 for the lesson. 

Use Record No. 28, page 308, for the listening exer- 
cise. 

Take Exercises No. 17 at the end of the Forty-fifth 
Period. (See Appendix, page 78.) 

PERIODS FORTY-SIX TO FORTY-EIGHT 
Fifteenth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 17 for the lesson. 
Use Record No. 29, page 211, for the listening exercise. 
Take Exercises No. 18 at the end of the Forty-eighth 

Period. (See Appendix, page 80.) 

PERIODS FORTY-NINE TO FIFTY-ONE 
Sixteenth Lesson of the Cortina Method 

Follow the Instructions as given for the Seventh to the 

Ninth Period, respectively, as a guide. 
Use Record No. 18 for the lesson. 
Use Record No. 30, page 313, for the listening exercise. 
Take Exercises No. 19 at the end of the Fifty-first 

Period. (See Appendix, page 81.) 

46 



PERIOD FIFTY-TWO 

Review 

Follow the Instructions as given for the Thirteenth 

Period as a guide. 
Use as many of the records as there is time during the 

period, selecting those that have proved the most 

difficult or interesting. 
Take Exercise No. 20. (See Appendix, page 82.) 



47 



SUPPLEMENTARY PERIODS 

Classes or individuals should now study the descrip- 
tive matter, which so far was used merely as a listening 
exercise, by applying the method as used for the dia- 
logues with the first eighteen records to records No. 19 
to No. 30, as follows: 

INSTRUCTIONS FOR PERIOD FIFTY-THREE 

Une Journee a Paris 

Read carefully paragraphs 2, 3 and 4 of the General 
Instructions on the colored pages before beginning this 
period. 

1. (Place record marked No. 19, page 278, on the 
phonograph.) 

2. (Wind phonograph and adjust its speed to 80 
revolutions per minute.) 

(1) 3. We will now take up the closer study of the de- 

scriptive matter, which we have so far used 
merely as a listening exercise. Open your books 
at page 278 ! Look at the French and listen only ! 
(Play record through.) 

(2) 4. Now repeat after the phonograph, but look at 

the text in your books ! Repeat aloud ! 
(Play record through, but lift the reproducer 
after each sentence, allowing the students time 
to repeat the sentence just heard.) 

(3) 5. Once more! Look at the French in your books 

and repeat after the phonograph ! 
(Play record through as above.) 
48 



(4) 6. Now close your books and repeat aloud in 

French, while you write down at the same time 
as many words of each sentence as you can. 
Where you cannot follow the phonograph, leave 
a blank space, which you will fill in the next 
time. 

(Play record through as above, giving the stu- 
dents time to write.) 

(5) 7. Keep your books closed! Fill in as many of 

your blank spaces as you can, while you repeat 
aloud after the phonograph ! 
(Play record through as above.) 

(6) 8. Now open your books and compare what you 

have written with the printed page, correcting 
your papers as you repeat after the phonograph ! 
(Play record through as above.) 
9. Now we will have some conversation on the de- 
scription which we have just been repeating. 
Questions similar to those given for Record 
No. 19, on page 83 of the Appendix, may be 
used for this oral exercise. The class leader 
will direct the conversation; he may either 
question each student in turn, or if the class 
is a large one, he may divide it into groups 
which will question one another and reply in 
turn. In either case the replies should follow 
the text. 

Individuals studying alone should also carry 

out this exercise, reading the questions aloud 

and rinding the answers in the text. 

10. The exercise I am handing you now is a set of 

questions based on the record we have just 

49 



been studying. Please answer them in writ- 
ing, closely following the text, and return them 
to me at the next period. 

(See Appendix, page 83.) 

NOTE 

The instructions for Period Fifty-three may serve as 
guide for the remaining periods of this course, using a 
new record and a new set of questions each time, as 
follows: 

Period Records and Questions 

Fifty-four No. 20 

Fifty-five No. 21 

Fifty-six No. 22 

Fifty-seven No. 23 

Fifty-eight No. 24 

Fifty-nine No. 25 

Sixty No. 26 

Sixty-one No. 27 

Sixty-two No. 28 

Sixty-three No. 29 

Sixty-four No. 30 

(See Appendix, pages 83 to 90.) 



50 



APPENDIX 

The following exercises in grammar and in compo- 
sition are models of the exercises to be delivered to the 
students at the end of the periods indicated. Students 
in classes will hand them in completed to the class 
leader or instructor at the return periods indicated. 
Individuals studying alone will send them with return 
postage direct to the Cortina Academy of Languages. 
In either case the exercises will be corrected free of 
charge and returned in due time. The Cortina Acad- 
emy of Languages will furnish printed forms for them 
at a nominal cost, or they may be copied on the type- 
writer and distributed to the class. 



51 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 1 

To be delivered to the students at the end of the 
Third Period and to be returned, by them completed 
at the end of the Sixth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes of pages 46, 47, 48, 49, 50 and 51 of the Cortina 
Method, as well as pages 72 to 10S of the same book. 
Write out your answers directly after each question. 



1. Does the name of a language require the article 
"le"? Give examples in French, availing yourself 
of the model sentences used in the dialogue on 
pages 48 and 50. 

2. Is "vous" used between persons who are on in- 
timate terms? Explain the difference between 
"vous" and "tu." 

3. How are the adverbs "ne pas" used? 

4. What French termination corresponds to the 
English one, "ly"? 

5. Give examples showing how the definite articles 
"le," "la," "les" are used before masculine, fem- 
inine and plural nouns and when the "e" or "a" 
is dropped. 

6. What is the difference between the masculine and 
feminine indefinite articles? 

(Note the marked difference in their pronunciation 
in the words "Un Fran^ais," "Une Portugaise." 
52 



See note 12, page 19, Cortina Method, for practice 
in placing the lips so as to obtain the sound as 
heard in "une.") 

7. How are the masculine substantives generally 
distinguished from the feminine? Give examples. 

8. Give examples showing how the plural of nouns 
is generally formed, including those ending in 
"e," "x," "s" and "ien." 

9. Give examples showing how the different personal 
pronouns are used. 

10. Study the "present" of the "mode indicatif" of 
the verb "parler," on page 80, and give examples 
in sentence form of the use of the words "desirer," 
"voyager" and "etudier," whose endings are the 
same as those of "parler"; for example: "Nous 
desirons voyager en Espagne." 

11. Give an example of the use of "le" as a pronoun. 

12. Give an example showing how adjectives ending 
in "el," "al" or "on" form their plural. 

13. Give examples of the use of the possessive pro- 
nouns named in note 28, page 50. 

Composition 

A. Fill in the blank spaces in the sentences below with 
words selected from the vocabulary and dialogue 
of the First Lesson of the Cortina Method on pages 
46 to 50. 

1. Le pere francais. 

2. Le desire 

3. Je desire la langue universelle. 

4. Le fils tres bien. 

5. Desirez-vous en France? 

53 



6. Voulez-vous avec le fran^ais? 

7. La semaine nous voir 

8. Voulez voyager vapeur ? 

9. Vous raison, elles tres bien. 

10. L'Espagnol parler le 

Date: 

Student's Name 

Address 

I belong to Class 

B. Translate back into French the English translation 
of the dialogue of the First Lesson on pages 49 and 
51, and then compare your work with the original 
and correct it. Do not send in Exercise B. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 2 

To be delivered to the students at the end of the 
Sixth Period and to be returned by them completed 
at the end of the Ninth Period. 

Grammar 

In answering these questions consult freely the 
foot-notes of the Second Lesson on pages 52 to 57 of 
the Cortina Method, as well as pages 72 to 108 of the 
same book. Write out your answers directly after 
each question. 

54 



i. Explain the form of the verb "entendu." 

2. Give an example of the past participle of the 
regular verb from each conjugation, selected from 
the list on pages 97 to 108. 

3. What is the difference between "plutot," written 
as one word, and "plus tot," written as two words? 

4. Which French termination corresponds to the 
English termination "ous"? 

5. Write out the names of the principal meals, each 
with its proper article, 

6. Give the general rule for the formation of the fem- 
inine adjectives, together with examples. 

7. Give the ordinary forms of greeting in French, 
adding some title, as you would in addressing a 
person. 

8. Study the present indicative of the verbs "finir" and 
"recevoir" on pages 80 and 82. Then make a list 
of all the regular verbs in this tense in the dialogue 
of the First Lesson, pages 48 and 50, together with 
their pronoun and their infinitive; for example: 
"Je desire Desirer." 

9. Give the endings of the future tense. To what 
form of the verb are they added? 

10. Make a list of all the verbs in the future tense in 
the dialogue of the Second Lesson, pages 54 and 
56, together with their pronoun and their infinitive ; 
for example: "Je partirai Partir." 

11. How do substantives ending in "au," "eau" and 
"eu" form their plural? 

12. Give the endings of the indicative imperfect of the 
regular conjugations. To what form of the verb 
are they added? 

55 



13. Make a list of all the verbs in this tense in the 
sentences on pages 54 and 56. 

14. To what other form of the verb can the above end- 
ings be added in order to obtain the conditional 
present? 

15. Make a list of all the verbs in the conditional 
present in the sentences on pages 54 and 56. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Second Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Second Lesson on pages 55 
and 57, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 3 

To be delivered to the students at the end of the 
Ninth Period and to be returned by them completed 
at the end of the Twelfth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes of the Third Lesson of the Cortina Method, on 

56 



pages 58 to 65, also pages 72 to 108. Write out your 
answer directly after each question. Illustrate by 
original examples. 

1. Make a list of all the regular verbs in the indica- 
tive imperfect tense in the dialogue on pages 60, 
62 and 64; give the full form with the pronoun and 
also the infinitive; for example, "Parliez-vous . . . 
Parler." 

2. Does the pronoun "vous" follow the verb instead 
of preceding it, as in the English translation of 
sentence No. 1, on page 61? (See note 4, page 
46.) 

3. Decline the plural of the definite article together 
with a noun; for example, "les gar$ons" . . . (See 
page 72.) 

4. What two words are combined to form the word 
"toujours"? 

5. Explain the formation of words like "manchette." 
What does the word mean literally? 

6. In the phrase "on prononce" in the second sen- 
tence on page 60, what does the word "on" stand 
for and how would you translate the phrase liter- 
ally? Note that the English translation given is 
not literal. 

7. Is the word "pas" ever used alone to express a 
negation? With what other word is it always used 
to express the negative form of the verb? (See 
note 5, page 46.) 

8. Name the four personal pronouns that have only 
one form for the nominative case, and the pronouns 
that have a double nominative, giving both forms 
of the latter. 

57 



q. What is the difference between "an" and "annee," 

both of which mean "year"? 
10. How do adjectives ending in "et" form their 
feminine? 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Third Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Third Lesson on pages 61, 
63 and 65, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 4 

To be delivered to the students at the end of the 
Twelfth Period and to be returned by them completed 
at the end of the Sixteenth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes of the Fourth Lesson of the Cortina Method, on 
pages 66 to 71, and also pages 72 to 108. Write out 
your answers directly after each question. Illustrate 
by original examples. 

58 



i. What is the English equivalent of the French words 
ending in "ent"? 

2. Are compound substantives common in French? 
Give examples of the usual way of combining two 
nouns in French to form a new one. 

3. What is the gender of the word "quelle"? From 
what word is it derived and how is it formed? 

4. What is the English equivalent of the French end- 
ing "rie," and what does it denote when added to a 
noun? 

5. What similarity do you find between the French 
and the English names of the days of the week? 

6. Study the "modes imperatifs" of the verbs "par- 
ler" and "finir" on page 82 and of "recevoir" and 
"rendre" on page 84 and the paragraphs on page 
96, then select one verb from each conjugation 
from the list on pages 97 to 108 and write out the 
three persons of the imperative tense that are 
generally used. 

7. What difference is there between the endings of 
these persons and the endings of the corresponding 
persons of the present indicative? 

8. Make a list of the verbs in the "mode imperatif" 
in the dialogue on pages 68 and 70, together with 
their infinitive; for example, "Donnez — donner." 

9. Where is the subject of an interrogative sentence 
generally placed in French? Illustrate this rule by 
an interrogative sentence in French. 

10. Explain the form "paye-t-on" in sentence 6 on 
page 68. Why is the letter "t" inserted, and what 
does the final word "on" stand for? (See page 50, 
note 29.) 

59 



ii. Why is the pronoun "moi" used at the beginning 
of the third sentence? 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Fourth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English transla- 
tion of the dialogue of the Fourth Lesson on pages 
69 and 71, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 5 

To be delivered to the students at the end of the 
Thirteenth Period and to be returned by them com- 
pleted at the end of the Sixteenth Period. 

Grammar 

This is a general review of the ground that has been 
covered so far. Before answering the questions read 
over the foot-notes on pages 46 to 71, study pages 72 
to 76, where the most important points of the grammar 
studied so far are summed up, read carefully pages 
76 to 96, covering the verb, and memorize the model 
conjugations of the regular verbs on pages 80 to 84. 
You must be able to conjugate the French verbs if you 
want to speak French correctly. Write out your an- 

60 



swers directly after each question. Illustrate by 
original examples. 

i. How many kinds of articles are there in French? 
Give an example of each with a noun. 

2. Explain the "article partitif"; what is its English 
equivalent and what is the difference between its 
use in French and in English? 

3. How many genders are there in French and what 
is the difference between the French and the Eng- 
lish use of the genders? 

4. Give the six different ways in which the plural of 
the French substantives is formed. 

5. Translate the two sentences "It is John's soup," 
and "This knife is Henry's," to illustrate the two 
ways of expressing possession in French. 

6. Make a list of the different ways of forming the 
feminine, both of substantives and of adjectives, 
given in the foot-notes on pages 46 to 71. 

7. Do proper names of countries take the definite 
article? 

8. Name the conjugations into which the French verbs 
are divided, and give three verbs of each, separating 
the stem from the ending, as for example, "Parl-er." 

9. To which conjugation do the majority of the regu- 
lar verbs belong? See list. 

10. When is a verb said to be regular? 

11. How is the stem or root of the verb found? 

12. What are the endings of the indicative imperfect 
of all the regular conjugations and to what stem 
are they added? 

13. To what mood are these same endings added in 
order to form the conditional present? 

61 



14. What are the terminations of the future and to 
which primitive tense are they added! 

15. Fill in the endings of the four conjugations as given 
in the models on pages 80 to 84, in the outline 
below, and memorize them. These seven tenses 
are the ones most commonly used in French and 
you must be thoroughly familiar with them. 

i n m iv 

Infinitive -er -ir -oir -re 

Present participle - 

Past participle - 

Indicative present - 



Indicative imperfect . . . 



Future. 



Imperative. 



62 



16. Select from the list on pages 97 to 108 one verb 
from each conjugation and write it out fully in the 
seven tenses given above, dividing the stem from 
the ending. 

BEAR IN MIND : You must know how to use the 
French verbs if you want to speak French correctly. 
You will not find this difficult if you thoroughly 
master the endings of the verbs. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 6 

To be delivered to the students at the end of the 
Sixteenth Period and to be returned by them completed 
at the end of the Nineteenth Period. 

Grammar 

In answering these questions consult freely the 
foot-notes to the Fifth Lesson of the Cortina Method, 
on pages 109 to 115; and read carefully pages 136 to 
142. Write out your answers directly after each 
question. Illustrate by original examples. 

1. Explain the termination "ance." 

2. What is the gender of words ending in "aire"? 
Give the exceptions. 

3. When are the pronouns placed after the verb? 

4. What is the rule for combining two numbers in 
French to form a higher one? 

5. How are the collective numbers formed? 

6. Name the interrogative and relative pronouns. 

63 






7. How is a verb conjugated interrogatively? 

8. What is the principal characteristic of the French 
termination "ant"? 

9. What is the difference between "quel" and 
"lequel"? 

10. What is the general rule for the formation of the 
feminine adjectives? Study the exceptions and 
introduce them into your sentences in the compo- 
sition exercise. 

11. What are the determining adjectives? 

12. With what does the possessive adjective agree in 
French? 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Fifth Lesson and then compose ten sentences based 
on this material. 

B. Translate back into French the English translation 
of the dialogue of the Fifth Lesson on pages 113, 
115 and 117, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 7 

To be delivered to the students at the end of the 
Nineteenth Period and to be returned by them com- 
pleted at the end of the Twenty-second Period. 

64 



Grammar 

In answering these questions consult freely the foot- 
notes to the Sixth Lesson of the Cortina Method, on 
pages 116 to 121; and read carefully pages 142 to 146. 
Write out your answers directly after each question. 
Illustrate by original examples. 

1. What French preposition corresponds to the Eng- 
lish "since" or "from"? 

2. Do all English words ending in "y" change into 
"ie" in French? 

3. What is the difference between French and Eng- 
lish nouns ending in "ion"? 

4. Name the adverbs that are irregularly compared. 

5. When is the negation "pas" omitted? 

6. When does "plus" take the preposition "de"? 

7. Explain the use of "tout" as adverb. 

8. How many classes of pronouns are there in French? 
Name them. 

9. What are the demonstrative pronouns? 

10. In what two ways may possession be expressed 
in French? 

11. Name the relative pronouns. 

12. What may relative pronouns express, besides rela- 
tion to a noun? 

13. What are the indefinite pronouns? 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Sixth Lesson and then compose ten sentences 
based on this material. 
65 



B. Translate back into French the English translation 
of the dialogue of the Sixth Lesson on pages 119 
and 121, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 8 

To be delivered to the students at the end of the 
Twenty-second Period and to be returned by them com- 
pleted at the end of the Twenty-fifth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Seventh Lesson of the Cortina Method, on 
pages 122 to 129; and read carefully pages 146 to 152. 
Write out your answers directly after each question. 
Illustrate by original examples. 

1. When are the cardinal numbers used instead of the 
ordinals in French? Which is the only exception? 

2. With what do the ordinals agree in gender and 
number? 

3. How are the ordinal numbers formed? 

4. Do "a la bonne heure" and "de bonne heure" 
mean the same thing? 

5. What is the difference between "qui" and "que"? 

6. Explain the use of "y." 

7. How is the time told in French? 



8. Study the conjugation of "avoir" on pages 146 to 
149. 

9. How is "avoir" used as a principal verb? 

10. When is it used as an auxiliary? 

11. How is it used as an impersonal verb? 

12. How many classes of verbs are there in French? 
Explain each class. (See Note 30, page 151.) 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Seventh Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Seventh Lesson on pages 125, 
127 and 129, and then compare your work with 
the original and correct it. Do not send in Exer- 
cise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 9 

To be delivered to the students at the end of the 
Twenty-fifth Period and to be returned by them com- 
pleted at the end of the Twenty-ninth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Eighth Lesson of the Cortina Method, on 

67 



pages 130 to 135; and read carefully pages 152 to 158. 
Write out your answers directly after each question. 
Illustrate by original examples. 

1. Explain the word "autres" in the phrases, "nous 
autres" and "vous autres." 

2. What is the position of the two words of the nega- 
tion "ne pas"? 

3. Is it correct in French to greet a person with "Bon 
matin"? Which is the correct expression? 

4. Study the conjugation of "etre" on pages 152 to 153. 

5. How are the compound tenses formed? 

6. What does "etre" express when used as a principal 
verb? 

7. How is "etre" used as an auxiliary? 

8. Name the ten verbs, together with their past 
participles, which are always conjugated with 
"etre." 

9. Study the difference in the neuter verbs when con- 
jugated with "avoir" and when conjugated with 
"etre." 

10. Study the rule for translating an English past tense 
into French. 

11. What does the perfect imperative denote? 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Eighth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Eighth Lesson on pages 133 

68 



and 135, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 10 

To be delivered to the students at the end of the 
Twenty-sixth Period and to be returned by them com- 
pleted at the end of the Twenty-ninth Period. 

Grammar 

This is a general review of the ground that has been 
covered in the last twelve periods. Before answer- 
ing these questions read over the foot-notes on pages 
109 to 135 of the Cortina Method; and read carefully 
pages 136 to 158. Write out your answers directly 
after each question. Illustrate by original examples. 

1. Which consonants are doubled and which are 
never doubled? 

2. What does "il faut" mean? 

3. What is the position of the pronoun in simple in- 
terrogative sentences, and in interrogative sen- 
tences formed with the compound tenses? 

4. When does the past participle of the verb agree 
with the subject? 

5. Name the negations and state their position with 
reference to the verb. 

6. What changes are made in the adjectives to form 
the feminine? 

69 



7. Name the different classes of pronouns. 

8. Name the different classes of verbs. 

9. What classes of verbs are conjugated with "avoir"? 
10. What classes of verbs are conjugated with "etre"? 
xx. Explain the use of the "passe indefini"? 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 11 

To be delivered to the students at the end of the 
Twenty-ninth Period and to be returned by them com- 
pleted at the end of the Thirty-second Period. 

Grammar 

In answering these questions consult freely the foot- 
notes of the Ninth Lesson of the Cortina Method, on 
pages 159 to 165; and read carefully pages 184 to 192. 
Write out your answers directly after each question. 
Illustrate by original examples. 

1. What is the function of the preposition? Into 
what classes are the French prepositions divided? 

2. Explain the different meanings of "en." 

3. What are the rules of comparison for adjectives 
and adverbs? 

4. What is the position of the adjective with respect 
to its noun? State the exceptions. 

5. What is an irregular verb in French? 

6. Into how many classes are the French irreg- 
ular verbs divided? 

70 



7. Write out the indicative present of "consentir," 
page 189. 

8. Write out "souffrir," page 190, in the present 
subjunctive and in the compound present indica- 
tive, I have suffered. 

9. Write out "atteindre," page 192, in the imperfect, 
imperative and future. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Ninth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English transla- 
tion of the dialogue of the Ninth Lesson on pages 
163 and 165, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 12 

To be delivered to the students at the end of the 
Thirty-second Period and to be returned by them com- 
pleted at the end of the Thirty-fifth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Tenth Lesson of the Cortina Method, on 
pages 166 to 171 ; and read carefully pages 192 to 200. 

71 



Write out your answers directly after each question. 
Illustrate by original examples. 

i. What is the difference between " moitie " and 
"demi"? 

2. How are the partitive numbers formed? 

3. What is the difference in meaning between "une 
pair," "un couple" and "une couple"? 

4. Name the adjectives that are irregularly compared. 

5. What is the construction when two infinitives are 
used together in French? 

6. What is the force of the final "ee" when added to 
a noun? 

7. Conjugate "disparaitre," page 194, in the present and 
past participle, the present indicative and the future. 

8. Give the irregular forms of "produire," page 195. 

9. Give the irregular forms of "elire," page 197. 

10. Conjugate "rire," page 197, in the present indica- 
tive and future. 

11. What rule applies to all the verbs of class VIII? 
Conjugate "s'enfuir," page 200, in the present in- 
dicative, imperfect and future. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Tenth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Tenth Lesson on pages 169 
and 171, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 

72 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 13 

To be delivered to the students at the end of the 
Thirty-fifth Period and to be returned by them com- 
pleted at the end of the Thirty-eighth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Eleventh Lesson of the Cortina Method, 
on pages 172 to 177 ; and read carefully pages 201 to 209, 
Write out your answers directly after each question. 
Illustrate by original examples. 

1. What is the English equivalent of the French ter- 
mination "oire"? 

2. What does "s'il vous plait" mean? 

3. After what class of verbs is the subjunctive mood 
used in French? 

4. What is the sound of the final "d" followed by 
"-il" in all verbs whose stem ends in "d"? 

5. Name the different ways of forming the compara- 
tive degree of adjectives? 

6. What does the final "able" form? 

7. Conjugate "decrire," page 202, in those tenses in 
which the stem is irregular. 

8. Conjugate "apprendre," page 204, in the tenses in 
which the stem is irregular. 

9. What characteristic distinguishes class IX from the 
previous eight classes? 

10. What is the best way of studying the eighteen verbs 
in this class? 

73 



ii. What verb is there in this class that may be taken 

as the model for a large group? 
12. Study the conjugations of "aller," "envoyer," 



Composition 

A. Read carefully the vocabulary and dialogue of the 
Eleventh Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Eleventh Lesson on pages 
175 and 177, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 14 

To be delivered to the students at the end of the 
Thirty-eighth Period and to be returned by them com- 
pleted at the end of the Forty-second Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Twelfth Lesson of the Cortina Method, on 
pages 178 to 183 ; and read carefully pages 210 to 218. 
Write out your answers directly after each question. 
Illustrate by original examples. 

74 



1. Explain the two verbs "fera-t-il faire" in the third 
sentence on page 180. 

2. What is the force of "ce" when combined with 
"est" or "sont"? 

3. What is the force of the final "ible"? 

4. What is the difference between the pronouns "le" 
and "lui"? 

5. Study the conjugations of "mouvoir," "pouvoir" 
and "prevaloir." 

6. What does the subjunctive mood denote in 
French? 

7. In what moods must the principal proposition be? 

8. Name the six rules that govern the use of the 
subjunctive. 

9. What is the rule for the sequence of tenses? 

10. The list of Irregular Verbs on pages 219 to 222 is 
for reference only. State definitely how it should 
be used in order to find the conjugation of any 
irregular verb. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Twelfth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Twelfth Lesson on pages 181 
and 183, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 
75 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 15 

To be delivered to the students at the end of the 
Thirty-ninth Period and to be returned by them com- 
pleted at the end of the Forty-second Period. 

Review 

This exercise is a review of the ground that has been 
covered in the last twelve periods. Read over the foot- 
notes on pages 160 to 183 of the Cortina Method and 
pages 184 to 218. Write out your answers directly 
after each question. Illustrate by original examples. 

1. What do the prepositions indicate? Into what 
classes are the French prepositions divided? 

2. What is the position of the adverb in French? 

3. Make a list of all the prefixes and all the endings 
on pages 160 to 183 and state what they indicate. 

4. Make a list of all the synonyms on pages 160 to 
183 and explain them. 

5. When are "ci" or "la" added to nouns? 

6. After what class of verbs must the subjunctive be 
used in French? 

7. What is the general rule for the use of the sub- 
junctive in French? 

8. What conjunction indicates, in general, the use of 
the subjunctive? 

9. What is an irregular verb in French? 

10. Into how many classes are the French irregular 
verbs divided? 

76 



ii. In what forms of the verb do the irregularities 
chiefly appear in the first seven classes? 

12. What similarity is there between all the verbs of 
Class IX? 

13. Study the conjugations of "asseoir," page 211, 
and "savoir," page 212. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 16 

To be delivered to the students at the end of the 
Forty-second Period and to be returned by them com- 
pleted at the end of the Forty-fifth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Thirteenth Lesson of the Cortina Method, 
on pages 223 to 229; and read carefully pages 248 to 
253. Write out your answers directly after each ques- 
tion. Illustrate by original examples. 

1. Into what classes are the French conjunctions 
divided? 

2. When may the negations "pas" or "point" be 
omitted in a sentence? 

3. Explain the use of "tant." 

4. Explain the use of the article "le" before titles. 

5. How is the English progressive tense expressed 
in French? 

6. How is the feminine gender of nouns formed? 

77 



7. How is the gender of nouns determined in French? 

8. What is the difference in meaning between 
"travaux" and "travails," both of which are plurals 
of "travail," Work? 

9. How do compound nouns form their plural? 

10. When are proper nouns used in the plural? 

11. Study the conjugations of "valoir" and "voir" on 
page 213. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Thirteenth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Thirteenth Lesson on pages 
227 and 229, and then compare your work with 
the original and correct it. Do not send in Exer- 
cise B. 

Sign and date all your papers. 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 17 

To be delivered to the students at the end of the 
Forty-fifth Period and to be returned by them com- 
pleted at the end of the Forty-eighth Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Fourteenth Lesson of the Cortina Method, 

78 



on pages 230 to 235; and read carefully pages 254 to 
260. Write out your answers directly after each 
question. Illustrate by original examples. 

1. When does the apostrophe replace the feminine 
"e" mute in "grand"? 

2. Explain the use of the French infinitive as a noun. 

3. What is the difference between "ne pas" and "ne 
point"? 

4. How may the personal pronouns be employed? 

5. What is their position in the sentence? 

6. What is the position of the pronouns "en" and 
"y" in the sentence? 

7. What is a reflexive verb in French? 

8. With what pronouns is it conjugated? 

9. Into what classes are the French reflexive verbs 
divided? 

10. Study the model of the reflexive verb on pages 
257 to 259. 

11. What is a reciprocal verb? 

12. Study the irregular verbs "vouloir" and "boire" 
on page 214. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Fourteenth Lesson and then compose ten sen- 
tences based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Fourteenth Lesson on pages 
233 and 235, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 
79 



EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 18 

To be delivered to the students at the end of the 

Forty-eighth Period and to be returned by them com- 
pleted at the end of the Fifty-first Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Fifteenth Lesson, on pages 236 to 241; 
and read carefully pages 260 to 266. Write out your 
answers directly after each question. Illustrate by 
original examples. 

1. There are a number of words that may be used 
either as adverbs or prepositions in French. What 
rule is there to distinguish them as such, when 
used in a sentence? 

2. What is the difference between "si" and "tant"? 

3. How are hundreds from 11 to 19 computed in 
French? 

4. How is the passive voice of the verb expressed in 
French? 

5. What is the agreement of the past participle of the 
passive verb with its subject? 

6. What is an impersonal verb and how is it used in 
French? 

7. YvTiat is a defective verb in French? 

8. Study the conjugations of "faire" and "maudire," 
on page 215. 

9. Study the model of the passive verb on page 
2&0. 

80 



io. Write out the verb "falloir," page 264, in the re- 
flexive form, "il me faut," I need, etc. 

Composition 

A. Read carefully the vocabulary and dialogue of the 
Fifteenth Lesson and then compose ten sentences 
based on this material. 

B. Translate back into French the English translation 
of the dialogue of the Fifteenth Lesson on pages 239 
and 241, and then compare your work with the orig- 
inal and correct it. Do not send in Exercise B. 

Sign and date ail your papers. 






EXERCISES IN GRAMMAR AND IN 
COMPOSITION No. 19 

To be delivered to the students at the end of the 
Fifty-first Period and to be returned by them completed 
at the end of the Fifty-second Period. 

Grammar 

In answering these questions consult freely the foot- 
notes to the Sixteenth Lesson of the Cortina Method, 
on pages 242 to 247; and read carefully pages 267 to 
274. Write out your answers directly after each ques- 
tion. Illustrate by original examples. 

1. How are adverbs formed from adjectives in French? 

2. Explain the use of the demonstrative pronoun 
"celui." 

3. How is the infinitive used as a noun in French? 

4. What does the present participle express when em- 
ployed as a verb? 

81 



5. How is it used and what is its oosition with refer- 
ence to the subject? 

6. Explain the use of the present participle as an ad- 
jective. 

7. State the ways in which the past participle may be 
used. 

8. What changes does the past participle undergo 
when used together with "avoir"? 

9. What is the rule for the past participle of the 
reflexive verbs? 

10. How is the past participle "fait" always used? 

Composition 

A. This final exercise in composition may be in the 
form of a letter to a friend. Write in simple, short 
sentences and try to think in French. Forms for 
private correspondence are found on pages 320 and 
321 of the Cortina Method. 

B. Translate back into French the English translation 
of the dialogue of the Sixteenth Lesson on pages 
245 and 247, and then compare your work with the 
original and correct it. Do not send in Exercise B. 

Sign and date all your papers. 



EXERCISE IN COMPOSITION No. 20 

To be delivered to the students at the end of the 
Fifty-second Period and to be returned by them when 
completed. 

Read carefully the models of French correspondence 
on pages 317 to 321, and then compose three short 
business letters and three social notes. 

82 



QUESTIONS BASED ON RECORDS No. 19 to No. 30 

These sets of questions should be delivered to the 
students at each period, corresponding to the record 
studied, and the students should return them com- 
pleted at the next succeeding period. The answers to 
the questions should closely follow the text. 

No. 19, Pages 278 to 280 

1. A quelle gare arrive le voyageur? 

2. Par quel train arrive-t-ii? 

3. Quel projet a-t-il fait? 

4. Quel tache le voyageur a-t-il devant lui? 

5. A quel hotel envoyons-nous nos bagages? 

6. Pourquoi nous y rendons-nous nous-meme? 

7. Que nous faut-il pour accomplir notre tour de 
force? 

8. Ou nous amenent quelques tours de roue dans 
la rue du Havre? 

9. Ou debouchons-nous quelques pas plus loin? 

10. Arrivons-nous encore a temps pour le Marche 

aux Fleurs? 
n. Nous attardons-nous dans ce charmant oasis de 

verdure? 

12. Qu'admirons-nous de suite? 

13. Quittant la place de la Madeleine quel boulevard 
prenons-nous? 

14. Ou nous conduit le boulevard Malesherbes? 

15. Qu'est le Pare Monceau? 

16. Quel point de vue magnifique offre le pare? 

17. Ou est construit l'Arc de Triomphe de PEtoile? 

83 



18. Combien d'avenues rayonnent de cette place? 

19. Comment s'appelle 1'une de ces avenues? 

20. Qu'est le bois du meme nom? 

No. 20, Pages 280 to 282 

1. Par quelle porte rentrons-nous dans Paris? 

2. Quelle avenue remontons-nous? 

3. Par ou descendons-nous dans le centre de la ville? 

4. De quoi se composent les Champs-Elysees? 

5. Que trouvons-nous sur 1'avenue a notre droit? 

6. Que trouvons-nous a notre gauche? 

7. Ou aboutissent les Champs-Elysees? 

8. Que voit-on s'eiever tout autour de la place? 

9. Qu'y a-t-il au nord et au sud? 

10. En traversant les jardins des Tuileries ou arrivons- 
nous? 

11. Par quelle rue sortons-nous du Louvre? 

12. Sur quelle place se trouvent les grands magasins 
du Louvre? 

13. Ou ferons-nous une longue halte? 

14. Qu'y trouvons-nous au rez-de-chaussee? 

15. Que passons-nous apres dejeuner? 

16. Sur quel pont traversons-nous le fleuve? 

17. Suivant ensuite les quais vers l'ouest que rencon- 
trons-nous? 

18. Quels demiers vestiges de l'exposition de 1889 
voyons-nous? 

19. Que visitons-nous en quittant le Champ de Mars? 

20. Ou arrivons-nous rue de Sevres? 

No. 21, Pages 282 to 284 

1. Ou nous transported cinq minutes de trajet? 

2. Quelles seances se tiennent dans le Palais? 

84 



3. Qu'y trouve-t-on egalement? 

4. Ou sommes-nous au sortir du Luxembourg? 

5. Que visitons-nous a Tangle des boulevards St. 
Michel et St. Germain? 

6. En suivant le boulevard jusqu'au Pont St. Michel 
ou entrons-nous? 

7. Ou nous conduit la rue Soufflot? 

8. Ou visitons-nous la Morgue? 

9. Debouchant du pont dans Pile St. Louis que faisons- 
nous? 

10. Que rencontrons-nous sur la rive droite? 

11. Laissant la Barriere du Trone quels boulevards 
remontons-nous? 

12. Que fait-on devant la Roquette? 

13. Qu'est le Pere Lachaise? 

14. Ou nous conduit 1'avenue de la Republique? 

15. De la Place de la Republique que suivons-nous? 

16. Jusqu'ou suivons-nous les boulevards interieurs? 

17. A quelle heure atteignons-nous ce dernier? 

18. Que faisons-nous apres nous etre restaures? 

19. Ou passerons-nous notre soiree? 

20. Ou nous ramene une petite course en voiture? 

No. 22, Pages 287 to 289 

1. Que vous ai-je promis que nous ferions ensemble? 

2. De quoi sommes-nous impatients? 

3. Dans notre tour de France que ferons-nous? 

4. Quelle sera notre premiere etape? 

5. A qui est du le magnifique palais de Versailles? 

6. Par quoi est embelli le Pare? 

7. A qui faut-il attribuer la perfection et Pessor au- 
quels attaignit la langue? 

85 



8. Ou fut parle pour la premiere fois le frangais 
classique? 

9. A quoi devons-nous la pleiade d'ecrivains illustres? 

10. A quoi faut-il rapporter Padoption du fran^ais 
comme langue diplomatique? 

11. Pour ou quittons-nous cette ville des grands sou- 
venirs monarchiques? 

12. A quel evenement fait-on allusion? 

13. Que peut-on mentionner a Fontainebleau? 

14. Ou nous amenent quelques heures de voyage? 

15. Que formait la province de FOrleanais avec Pile 
de France? 

16. Quelle etait leur idiome? 

17. Sous quel nom supplanta-t-il tous les autres 
idiomes? 

18. Quand les supplanta-t-il? 

19. Reste-t-il des traces de ces different dialectes? 

20. A quelle epoque a lieu la naissance de la langue 
frangaise? 

No. 23, Pages 290 to 292 

1. Reprenant le cours de notre excursion ou sommes- 
nous? 

2. Que devons-nous rappeler avant de quitter Orleans? 

3. Qu'inaugura Jeanne d'Arc la? 

4. En quittant Orleans ou passons-nous? 

5. Quel patois se parle a Limoges? 

6. Quelle est la limite la plus rationnelle pour la division 
du Nord et du Midi? 

7. Quelle ville atteignons-nous de suite en quittant 
Angouleme? 

8. Comment parle-t-on a Bordeaux? 

86 



9. Quelle Academie se tient a Toulouse? 
10. Comment est le climat de Pau? 

No. 24, Pages 292 to 294 

1. Comment s'appelle le chant national fran^ais? 

2. Par qui fut-it compose? 

3. Que atteignons-nous en suivant le littoral de la 
Mediterranee? 

4. Que trouvons-nous en remontant au Nord? 

5. Combien a d'habitants la ville de Lyon? 

6. Quelle est la renommee de Besangon? 

7. Par quoi est celebre Troyes? 

8. Par quel general fut vaincu Attila en 451? 

9. Ou est situee Lille? 

10. Quelle est la langue parlee en Bretagne? 

No. 25, Pages 298 to 300 

1. Que prenons-nous pour point de depart en etudiant 
la litterature classique? 

2. De quoi nous occuperons-nous exclusivement? 

3. Quelle occasion perdons-nous? 

4. A quoi appartiennent ces ceuvres et ces ecrivains? 

5. Quels sont les chefs d'ecole de Pepoque de la 
Renaissance? 

6. Par qui fut fondee PAcademie Fran^aise? 

7. A quelle epoque arrivons-nous de suite? 

8. Qu'a ete proclame Francois de Malherbe par Boi- 
leau? 

9. Que crea notre genie dramatique avec Corneille? 
10. Qu'inaugura Pierre Corneille avec le Cid? 

No. 26, Pages 300 to 302 

1. Que nous donne le profond Racine? 

2. Par quelle main etait renouvelee la comedie? 

87 



3. Qu'etait Jean Ponquelin, dit de Moliere? 

4. Quels sont les autres ecrivains illustres hors du 
theatre? 

5. Qui peut-on citer dans la Philosophic et la 
Morale? 

6. Que perd la litterature du siecle suivant? 

7. Quel homme domine le i8eme siecle? 

8. Dans quoi s'exerce-t-il? 

9. Que comprennent ses oeuvres? 

10. Y a-t-il aussi des romans panni ses oeuvres? 

No. 27, Pages 303, 304 and 307 

1. Qui se place a cote de Voltaire? 

2. Quels auteurs viennent au second plan? 

3. Qu'a le i7eme siecle en dehors du mouvement 
philosophique? 

4. Qu'est-il necessaire de distinguer vers la fin du 
siecle? 

5. S'inspirant du sentiment de la nature que fait la 
poesie? 

6. Dans quoi excelle Bernardin de St. Pierre? 

7. Que renouvelie la revolution qui termine le siecle? 

8. A qui font place les ecrivains? 

9. Jusqu'ou s'affirme la poesie dans la tourmente 
revolutionnaire? 

10. Quels sont les trois chefs du mouvement litteraire 
apres la Revolution? 

No. 28, Pages 308 to 310 

1. Ou Pauteur a-t-il place les scenes d'Atala et Renee? 

2. Que donna ensuite Chateaubriand? 

3. Quels sont les deux romans philosophiques de 
Mme. de Stael? 

88 



4. Qu'a developpe Joseph de Maistre? 

5. Comment se produisit la renovation litteraire? 

6. Que dornie Beranger a la simple chanson? 

7. Que transforme Lamartine dans ses Meditations 
et ses Harmonies? 

8. Qu'ecrit Victor Hugo a vingt ans? 

9. Dans quoi Victor Hugo donna-t-il le manifeste du 
romantism? 

10. En quoi differe le theatre romantique du classique? 

No. 29, Pages 310 to 313 

1. Par quoi est remplacee la tragedie? 

2. Quels sont les auteurs qui se presentent a nous? 

3. Quelles sont les plus belles comedies de Victorien 
Sardou? 

4. Quel genre special a-i-il cree pour Madame Sarah 
Bernhardt? 

5. Qu'est notre epoque contemporaine? 

6. A quoi tendent a revenir une partie de nos ecrivains 
actuels? 

7. Qu'est pour nous la litterature du vingtieme 
siecle? 

8. Qu'ajoute Lamartine a ses premieres ceuvres? 

9. Quels poetes moins fameux marchent sur leurs 
traces? 

10. Quels sont les chefs de cette demiere ecole? 

No. 30, Pages 313 to 316 

1. Dans quoi se produit surtout la peinture du siecle? 

2. Qu'envahit celui»ci? 

3. Quels sont les deux granas noms dans la premiere 
moitie du siecle? 

89 



4. Qu'est le premier? 

5. Qui citerons-nous parmi les autres grands roman- 
ciers de ce siecle? 

6. Qu'ecrivit le second? 

7. Que sont tous ces auteurs? 

8. Qui nommerons-nous se rattachant aux realistes? 

9. Que nous donne Emile Zola dans ses ouvrages? 
10. Qu'est devenue la critique a son tour? 



90 



